Comments on: Cap Rep Man of La Mancha – Go!http://blog.timesunion.com/griggs-janower/cap-rep-man-of-la-mancha-go/2159/
Artistic director, Albany Pro MusicaTue, 21 Aug 2012 14:54:03 +0000hourly1https://wordpress.org/?v=4.6.1By: David Griggs-Janowerhttp://blog.timesunion.com/griggs-janower/cap-rep-man-of-la-mancha-go/2159/#comment-1754
Sat, 03 Dec 2011 18:06:10 +0000http://blog.timesunion.com/griggs-janower/?p=2159#comment-1754well, we certianly disagree, and that certainly is interesting! Art is nothing if not provocative.
]]>By: Jackhttp://blog.timesunion.com/griggs-janower/cap-rep-man-of-la-mancha-go/2159/#comment-1752
Sat, 03 Dec 2011 13:16:44 +0000http://blog.timesunion.com/griggs-janower/?p=2159#comment-1752Funny, how two educated people see the same thing and have wildly different experiences. Art is an amazing cultural phenomena that way. To qualify, I am an seasoned theatrical veteran with over 30 years as a professional actor. I studied theatre in college, and made my living exclusively in the theatre and film for over 30 years. And ,yes, I’ve been “Man of LaMancha” in a critically acclaimed production. Now on to Cap Rep’s production. I agree that Adam Jones did a superior job musical directing, he always does. The was workable , but the stage left exit to wings was not integrated into the physical space (more on that!). The lighting was serviceable although Mr. McGuire seemed to have a difficult time finding it in pinspot solos. Not much room, or budget I imagine for a followspot operator, so instruments must be locked into place, therefore the actor MUST hit the mark when such small spots are light. Costumes were appropriate but certainly not consistent in time. The Spanish officer wa out of 20th century Franco rule, while, Quihana, Sancho and the prisoners were apparently from the 18 or mid-19th centuries (jailed maybe for fashion fauxpaus). The show itself (I saw it on the sunday after Thanksgiving) seemed laced with post turkey triptophan. It had gaping holes where nothing happened, Mr. McGuire was in very poor voice (either it was strained, tired or not warmed up). His eye focus was not on the story but “where do I step to next”. Meaning he was doing the show dot to dot to dot. There was little serration of definition between the 3 characters he plays in the show. And I saw no real connection with any other actor on his part. He was in a seeHe clearly distilled all his bits over the past performances down to the bits that worked and he was a joyful little bundle of goofiness. Apparently the actor and his character were unfazed by being in a Spanish prison under the threat of death. Dr. Carrasco ‘s performance was as stiff as his his hair. He was supposed to be a prisoner in a dirty hole of a prison and he was perfectly coiffed with nearly shining white hair (not a wig or dyed, but his own) in a perfectly 2011 style and he was always tall and straight and perfectly pronunciated (is that a word?) . It was ludicrous to see him strut around. Aldonza, while looking quite healthy for being stuck in such awful conditions, worked very hard. But, again, she seemed more operatic and not suited vocally to the production. The rest of the ensemble needs to take Acting 101. Every person on that stage has a distinct and separate character. Each character has a a different life and a different set of circumstances that dictate their behaviors. you are not a cadre of dirty teenagers with one raised eyebrow. The few character actors onstage were ok. As for the three people playing guitar on stage, well, sir, one of them was faking it. Perhaps you were blinded by his perfectly coiffed, white hair.
Let me say that everything you had to say about the production is valid, it represents your personal experience. And, yes, local critics have praised the show, too. But, I know them all, and except for one in Troy, I have little respect for their “professional” opinions. They pander to the theaters and let them slide by with mediocre presentations. The theatre is in a budgetary vise grip and, in truth, it is a dying art form, unfortunately. The experience of a group of people gathering in the dark, and experiencing a story, live in front of them, with real, live, COMMITTED actors is something transcendent. But, as financial constraints worsen, the bar gets lowered and as that happens so do all our expectations. But, if one chooses wisely, brings in performers with desire and life, brings in designers with creativity and directors who aren’t running around trying to produce their own seasons, you can have stunningly good, relevant theatre and we can all agree that that could and would breathe life into this sadly dying cultural experience.
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